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Category: Original Reviews

Responses to Peary’s “must see” movie reviews, as well as my own “must see” movie reviews up to and after 1986 (when Peary’s book was published).

Irreconcilable Differences (1984)

Irreconcilable Differences (1984)

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“I’m just a kid, and I don’t know what I’m doing sometimes. But I think you should know better when you’re all grown up.”

Synopsis:
The daughter (Drew Barrymore) of a Hollywood director (Ryan O’Neal) and a novelist (Shelley Long) tells a judge the story of how her quibbling parents’ marriage fell apart — starting with her dad (O’Neal) falling for a beautiful young starlet (Sharon Stone) — and why she believes she’s better off living apart from them.

Genres, Themes, Actors, and Directors:

  • Allen Garfield Films
  • Courtroom Drama
  • Divorce
  • Flashback Films
  • Hollywood
  • Marital Problems
  • Rise-and-Fall
  • Romantic Comedy
  • Ryan O’Neal Films

Review:
After her breakthrough role in E.T. (1982), 9-year-old Drew Barrymore starred in both Firestarter (1984) and this flashback romantic comedy, told from the perspective of a young girl interested in “divorcing” her parents.

Barrymore’s role is actually somewhat peripheral, given that our primary focus is on the rise-and-fall of two aspiring artists who initially work well together:

then descend into farcical ineptitude as their own desires (O’Neal’s lust for Stone, Long’s longing for revenge) replace any sense of moral obligation or concern as parents.

Interestingly, this is foreshadowed during the first party Long and O’Neal attend upon arriving in Hollywood, when a guest informs Long that she’s a parent but “isn’t that into parenting” at the moment.

Because this couple can’t move beyond their petty selfishness to recognize the harm they’re causing their loved ones, they lose everything they value. I wish Barrymore had even more screen time, since she’s infinitely more sympathetic than either O’Neal or Long — but the adult stars do well in their roles, and are suitably convincing.

Redeeming Qualities and Moments:

  • Fine performances by the leads

Must See?
No, but it’s recommended for one-time viewing. Listed as a Sleeper and a Personal Recommendation in the back of Peary’s book.

Links:

Stormy Weather (1943)

Stormy Weather (1943)

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“Tell these fools anything, but tell me the truth.”

Synopsis:
A World War I veteran (Bill Robinson) reflects back on his rise to fame as a dancer, which started when he and his buddy (Dooley Wilson) met a beautiful singer (Lena Horne), and continued along a path filled with many talented artists and performances.

Genres, Themes, Actors, and Directors:

  • African-Americans
  • Aspiring Stars
  • Dancers
  • Flashback Films
  • Lena Horne Films
  • Musicals

Review:
The paper-thin romantic flashback “plot” matters not at all in this delightful musical revue from 20th Century Fox, featuring toe-tapping performances by Robinson and Horne, as well as Fats Waller, Ada Brown, Cab Calloway, and the inimitable Nicholas Brothers [who were also stand-out highlights in Kid Millions (1934) and Down Argentine Way (1940)]. It’s hard to pick a favorite, given they’re all well presented and performed with enormous enthusiasm — but my personal top-picks would likely be the Nicholas Brothers’ dancing “Jumpin’ Jive” (purportedly named by Fred Astaire as the “greatest movie musical number he’d ever seen”), Horne’s rendition of the title song, Robinson tap dancing on ashes on a boat to Memphis, and Fats Waller and his orchestra performing “Ain’t Misbehavin'”.

Redeeming Qualities and Moments:

  • Countless (actually, close to 20) enjoyable musical performances by powerhouse Black musical icons



Must See?
Yes, as an invaluable and still most-enjoyable all-black musical revue. Listed as a film with Historical Importance and a Personal Recommendation in the back of Peary’s book.

Categories

  • Good Show
  • Historically Relevant

Links:

Beneath the Valley of the Ultravixens (1979)

Beneath the Valley of the Ultravixens (1979)

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“The dawn’s early light comes to Small Town every day — and with it, the events of the night before are forgotten.”

Synopsis:
A woman (Kitten Navidad) whose sexual appetites can’t be fulfilled by her husband (Ken Kerr) tries everything she can to help him learn how to have sex the “right way”.

Genres, Themes, Actors, and Directors:

  • Adult Films
  • Marital Problems
  • Russ Meyer Films
  • Satires and Spoofs
  • Sexuality
  • Small Town America

Review:
Russ Meyer’s final feature was this satirical take (scripted under a pen name by Roger Ebert) on Our Town, in which an earnest narrator (Stuart Lancaster) tells us about the strange sex lives — both fulfilling and otherwise — of various residents in Smalltown. It’s as close as Meyer ever came to making an actual hardcore film, and I’m categorizing it as such here (it received an X rating) — but once/if you get beyond the relentless sex scenes, it’s possible to reflect on the humor and absurdity of the situation, in which Kerr nearly loses his job working for a female dump station owner (June Mack) because of his preferences, and only an ultra-busty evangelical radio announcer (Ann Marie) can potentially “save” Kerr from his own impulses.

Homosexuality is most definitely mocked and denigrated, with a dentist/counselor named “Dr. Lavender” (Robert E. Pearson) attempting to force Kerr “out of the closer” using a chainsaw — but is that any more ridiculous or offensive than the many other sex-based scenarios taking place? Not really.

Redeeming Qualities and Moments:

  • A sometimes humorous take on “Our Town”

Must See?
No; this one is only must-see for Meyer completists.

Links:

Supervixens (1975)

Supervixens (1975)

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“Not ready, with my beautiful body? You’ve gotta lot of nerve, buster!”

Synopsis:
A gas station attendant (Charles Pitts) called back home by his sexually aggressive girlfriend Supervixen (Shari Eubank) ends up in a domestic violence brawl that’s broken up by a psychopathic cop (Charles Napier). When Napier is sexually humiliated by Supervixen, he kills her and Pitts flees, knowing he’ll be blamed for the murder. During his “road trip”, Pitts is relentlessly seduced and harrassed by busty females who won’t take no for an answer — until he finally meets and falls in love with a kind cafe owner named SuperAngel (also Shari Eubank); but Napier is not yet done torturing Pitts and Eubank…

Genres, Themes, Actors, and Directors:

  • Falsely Accused
  • Femmes Fatales
  • Police
  • Psychopaths
  • Russ Meyer Films

Review:
Russ Meyer’s return to a more independent style of “adult entertainment” after Beyond the Valley of the Dolls (1970) resulted in a reiteration of his key preoccupations — busty, sexually voracious, emasculating dames and uber-violent, insecure men — but kicked up a notch, with an early bathtub murder scene especially graphic and misogynistic. It’s somewhat humorous seeing how “poor” Pitts simply can’t catch a break when it comes to horny women (he really is a basically good guy), and Napier seems to be delighting in the devilish extremes he’s allowed to go to with his Bad Cop Extraordinaire. (It’s interesting knowing that Meyer’s absentee dad was a policeman…) The notion of casting Eubank in dual roles works nicely; she does a decent acting job, and one wonders why she left the industry after starring in just one more Meyer flick. The violent ending hearkens back to Finders Keepers, Lovers Weepers! (1968), Cherry, Harry & Raquel! (1969), and BTVOTD — albeit with a (literally) cartoonish twist.

Redeeming Qualities and Moments:

  • Charles Napier’s unhinged performance as Harry Sledge

  • Shari Eubank as SuperVixen and SuperAngel

Must See?
No, though of course it’s must-see for Meyer fans.

Links:

Cherry, Harry & Raquel! (1969)

Cherry, Harry & Raquel! (1969)

Comments 1 comment

“Nevertheless, pity the poor potheads.”

Synopsis:
While a busty Swede (Uschi Digard) runs naked across the desert, a corrupt sheriff (Charles Napier) working in collusion with a marijuana dealer (Franklin Bolger) and a Chicano deputy (Bert Santos) tries to track down an elusive competitor known as “The Apache”. Meanwhile, Napier sleeps with both a busy prostitute named Raquel (Larissa Ely) and his nurse-girlfriend Cherry (Linda Ashton), who eventually fall for each other as well.

Genres, Themes, Actors, and Directors:

  • Drug Dealers
  • Sheriffs and Marshalls
  • Russ Meyer Films

Response to Peary’s Review:
Peary writes that this “compact Russ Meyer film” features a “tried-and-true combination of sex, violence, and humor”, with the injection of “intentionally silly footage of superstacked Uschi Digard romping naked (but for an Indian warbonnet) around [the] desert.” He asserts that while it’s “somewhat dated”, it “remains one of Meyer’s best films” given that it “has wit, sharp editing, several Don Siegel-like action sequences, and a solid lead in square-jawed Napier”.

I can understand why Meyer fans would be enamored with this flick, which shows ample evidence of the gonzo-surreal sensibilities and rapid-fire editing that would infuse Meyer’s first major studio film, Beyond the Valley of the Dolls (1970). However, it’s really not for all tastes; my favorite moments came early on, during his laughably earnest opening voiceover: “The evil of marijuana caresses all it comes in contact with.”

Redeeming Qualities and Moments:

  • Fine location shooting
  • Skillful editing

Must See?
No, though I’m sure some film fanatics will be curious to check it out.

Links:

Tarzan the Magnificent (1960)

Tarzan the Magnificent (1960)

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“I can’t understand a man who would rather live in fear than fight it — no matter the cost!”

Synopsis:
Tarzan (Gordon Scott) escorts cop-killer Coy Banton (Jock Mahoney) to the town of “Kairobi” in order to get reward money to give to the wife of the slain policeman (John Sullivan). He is accompanied in his dangerous overland trek by a group of individuals whose boat has been destroyed by Mahoney’s vengeful family, and are also eager to make it to Kairobi — including the boat’s shipmate (Earl Cameron); an arrogant businessman (Lionel Jeffries) and his wife (Betta St. John); a one-time doctor (Charles Tingwell); and a young woman (Alexandra Stewart). Along the way, the travelers must contend not only with wily Mahoney, but with his determined father Abel (John Carradine) as well as his three brothers — Ethan (Ron McDonnell), Johnny (Gary Cockrell), and Martin (Al Mulock) — who will stop at nothing to free Mahoney.

Genres, Themes, Actors, and Directors:

  • Africa
  • Cat-and-Mouse
  • John Carradine Films
  • Jungles
  • Road Trip
  • Tarzan Films

Review:
This follow-up to Tarzan’s Greatest Adventure (1959) more closely resembles a western than a traditional Tarzan flick in its narrative style, given the presence of the murderous Banton clan, with Tarzan functioning essentially as a sheriff for a terrorized settlement which is unwilling (or unable) to provide sufficient support. Mahoney is highly effective as psychopathic Coy Banton; it’s interesting to know that he took over playing Tarzan in the very next film of the series (!). Overall, this remains an exciting and well-filmed flick, with many adventures (and gruesome deaths) along the way. Also of note is the refreshing humanization of local black Africans:

— though it’s distressing that a village chief was played in blackface by a white man (why??).

Redeeming Qualities and Moments:

  • Jock Mahoney as Coy Banton
  • Numerous exciting sequences

Must See?
No, but it’s recommended.

Links:

Seance on a Wet Afternoon (1964)

Seance on a Wet Afternoon (1964)

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“We have borrowed a child, Billy — borrowed; borrowed.”

Synopsis:
A mentally disturbed medium (Kim Stanley) conspires with her husband (Richard Attenborough) to kidnap a wealthy child (Judith Donner) in order to bring fame to her psychic abilities by sharing where the girl is hidden.

Genres, Themes, Actors, and Directors:

  • Bryan Forbes Films
  • Henpecked Husbands
  • Hostages
  • Kidnapping
  • Kim Stanley Films
  • Mental Illness
  • Psychic Powers
  • Richard Attenborough Films

Review:
Other than playing a Marilyn Monroe-esque actress in The Goddess (1958), Kim Stanley’s best-known cinematic role was in this film by director Bryan Forbes, playing a deeply disturbed “psychic” whose delusional mental illness causes not only distress but serious harm to those around her. The atmospheric film gets off to a somewhat slow and talky start, but then shifts into gear as the kidnapping proceeds, and we’re kept on tenterhooks wondering what in the world will happen next. Our primary focus is on Attenborough, playing the epitome of a co-dependent spouse whose sympathy for his wife’s grief upends all logic; he’s highly effective in the role and compulsively watchable. Stanley’s performance is equally convincing, but evokes horror more than sympathy; this is a woman willing to take the world down with her as she enacts what she believes to be the warped “truth”.

Note: The girl (Judith Donner) chosen to play the hostage only has this one film to her name in IMDb, but she’s suitably realistic.

Redeeming Qualities and Moments:

  • Kim Stanley as Myra
  • Richard Attenborough as Billy
  • Atmospheric cinematography and direction

  • Effective use of real-life locales

Must See?
Yes, as an unusual and powerful film, and for the performances.

Categories

  • Good Show
  • Noteworthy Performance(s)

Links:

Tarzan’s Greatest Adventure (1959)

Tarzan’s Greatest Adventure (1959)

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“Death is never a pretty sight — and you’ll see it again before the hunt is over.”

Synopsis:
Accompanied by a local pilot (Eve Brent), Tarzan (Gordon Scott) pursues a group of four British criminals — Slade (Anthony Quayle), O’Bannion (Sean Connery), Kruger (Niall MacGinnis), and Dino (Al Mulock) — who, with support from Slade’s girlfriend (Scilla Gabel), have stolen explosives in order to raid a diamond mine.

Genres, Themes, Actors, and Directors:

  • Africa
  • Anthony Quayle Films
  • Cat-and-Mouse
  • Jungles
  • Niall MacGinnis Films
  • Sean Connery Films
  • Tarzan Films

Response to Peary’s Review:
Peary writes that while he’s “partial to the Johnny Weissmuller-Maureen O’Sullivan films”, this “colorful, action-packed adventure picture” — “produced on a fair-sized budget”, “filmed in CinemaScope, and made on location in Kenya by a talented British crew” — is “usually regarded as the best of the entire Tarzan series”. He notes that “Gordon Scott, who had played the jungle hero in several low-budgeted, studio-shot films in the early and mid-fifties, returned as the more introspective, human, mature… , and articulate Tarzan than he had played before”:

… and adds that “the villains he confronts aren’t cartoon characters, but complex men with singular motivations for committing crimes”.

While I haven’t see any Tarzan films outside of those listed in GFTFF, I’m in agreement that this is surely among the best. We get authentically caught up in the drama, which features realistic (and scary) settings, plenty of tension, well-filmed action scenes, and memorable supporting roles (including Connery as a naughty villain).

We’re never sure what will happen next, who will die next (or how), and — in particular — what will conspire between scar-faced Quayle and McGinnis (playing a greedy, cunning, bespectacled German completely obsessed with diamonds). While I’m not a fan of Shane’s sexually aggressive American pilot:

… she shows impressive growth throughout the film and “deserves” her ultimate dalliance with Tarzan. This one remains well worth a look — as does its follow-up, Tarzan the Magnificent (1960).

Redeeming Qualities and Moments:

  • Anthony Quayle as Slade
  • Niall MacGinnis as Kruger
  • Fine location shooting
  • Many well-filmed, exciting scenes

Must See?
Yes, as a fine example of what the Tarzan films were able to transform into in later years.

Categories

  • Good Show

Links:

Wild in the Country (1961)

Wild in the Country (1961)

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“It’s like I’m always walking around with a full cup of anger, trying not to spill it.”

Synopsis:
After nearly killing his brother in a provoked fist fight, a talented but troubled young writer (Elvis Presley) is sent by a judge (Jason Robards, Sr.) to live with his uncle (William Mims) and Mims’ daughter (Tuesday Weld), who has a baby, while also attending therapy sessions with a beautiful widowed psychologist (Hope Lange). Mims hopes to “catch” Presley and Weld together so they’ll get married, but Presley — who already has a girlfriend (Millie Perkins) — slowly starts falling for Lange, who is meanwhile resisting engagement to a lawyer (John Ireland) with a hot-headed son (Gary Lockwood).

Genres, Themes, Actors, and Directors:

  • Elvis Presley Films
  • Hope Lange Films
  • John Ireland Films
  • Juvenile Delinquents
  • Love Triangle
  • Millie Perkins Films
  • Psychotherapy
  • Tuesday Weld Films

Review:
In addition to two concert films, Peary lists “just” nine Elvis Presley movies (out of a total of 31) in his GFTFF. This adaptation of a debut novel by J.R. Salamanca — probably best known as author of the source-novel for Lilith (1964) — is a reasonably well-scripted (by Clifford Odets) melodrama about a gifted young man born into a society that doesn’t really have space or patience for him. Weld seems to be enjoying her role as a “wild” single mom eager for some fun, and Presley’s performance isn’t bad — but it’s somewhat laughable to see 26-year-old Presley referring to 28-year-old Lange with deference as “ma’am”, given how much chemistry they clearly have together (casting 40-year-old Simone Signoret in the role, as originally intended, would probably have worked better). A whole lot of melodrama ensues in this story, which is certainly worth a look by Presley fans but not must-see viewing.

Note: According to TCM’s article, “Colonel Tom Parker, Elvis’s manager, insisted that the studio insert several songs into the film or it wouldn’t be an Elvis Presley picture”; the songs aren’t bad but don’t quite seem to fit.

Redeeming Qualities and Moments:

  • Hope Lange as Mrs. Sperry
  • Tuesday Weld as Noreen Braxton
  • Some well-crafted dialogue:

    “You’re wild and unsettled, like a porcupine that can’t be held.”
    “Life’s got its shadows enough… Live and let live.”

Must See?
No, though it’s certainly worth a look.

Links:

Micki + Maude (1984)

Micki + Maude (1984)

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“Come on, Micki – just one child? A small one?”

Synopsis:
A TV reporter (Dudley Moore) married to an overly busy lawyer (Ann Reinking) has an affair with a cellist (Amy Irving) and soon finds himself about to become a father with both women.

Genres, Themes, Actors, and Directors:

  • Amy Irving Films
  • Blake Edwards Films
  • Dudley Moore Films
  • Feminism and Women’s Issues
  • Infidelity
  • Love Triangle
  • Pregnancy
  • Romantic Comedy

Review:
Blake Edwards directed this enjoyable if too-far-fetched romantic comedy about a “nice guy” who manages to juggle two marriages (and pregnancies) at once. Having just written a post on accepting the wild narrative logistics of Back to the Future (1985), it may sound odd to hear that the most challenging aspect of Micki + Maude for me — and ultimately its undoing — is its improbability. There is no way a man can shift from one household to another, with a job in between, and simply suffer from “too much sleep” (?!?!). The fact that the only give-away clue to bed-ridden Reinking that her husband is a bigamist is a green sweater (gifted by Irving) which has “I Heart You” hand-written on the label is meant to be amusing, but belies her intelligence.

With that enormous (and critical) caveat aside, the screenplay is delightfully wacky and clever. It’s to Edwards’ and screenwriter Jonathan Reynolds’ credit that we maintain an interest and investment in these characters, all of whom are well-written and sympathetic. Meanwhile, fans of farcical comedy sketches will surely enjoy the extended sequences in which Moore must deftly shift between caring for one woman, then the other (in the OB-GYN’s office, and then at the hospital).

The ending is reasonable, if a bit of a let-down — but then again, what other way could this type of situation be resolved?

Redeeming Qualities and Moments:

  • Ann Reinking as Micki

Must See?
No, but I do think it’s worth a look if you enjoy this type of movie.

Links: